Tag: TCFF

Now that TCFF has wrapped, I’ll be posting some reviews from the last few days of the film fest, as well as which films won the TCFF Awards which was announced last night. Glad to see some of my personal favorites getting nominated. You can check out the list here.

Now here are some films from Day 7 that are worth checking out:

How I Live Now

by Ruth Maramis

I have not heard about this film until it was announced as a TCFF lineup. I was immediately drawn to it because of Saoirse Ronan who’s been excellent in everything I’ve seen her in so far. This time it’s no different. In this film adaptation of novel by Meg Rosoff, Ronan plays an angst-y American teenager Daisy, who reluctantly goes to spend her Summer vacation with her cousin in an English countryside. Once she’s there, the rural house is in complete mess as her four cousins, Isaac (Tom Holland), Piper (Harley Bird), Edmond “Eddie” (George MacKay) pretty much had to look after themselves as their mom is involved in a mysterious project, something about the ‘peace process,’ who’s quickly whisked to Geneva, never to be seen again.

What starts out as an idyllic vacation, complete with picnic, lake-swimming, and a blossoming teen romance between Daisy and Eddie, life is soon turned upside down for them as war suddenly broke out, seemingly out of nowhere. Whilst there are hints along the way that of what looks to be a World War III scenario, from news footage on TV, signs of military presence, etc., when nuke effect “snow” from a London nuclear attack falling on them, it still came as quite a surprise. As the country descend into a violent and chaotic military state, Daisy is given a chance to return to America, but yet she chooses to stay with Eddie.

The last half of the film becomes a journey for survival story as Daisy and Piper flee a forced-labor camp through the woods. The pacing of the film drags at times, and I find the film’s relentlessly-allusive storyline a bit frustrating. I like a good mystery but somehow this film felt more elusive than truly suspenseful. I also feel like the chemistry between the characters a bit lacking. The romance is far from gripping and the pairing of Daisy and Piper also didn’t quite mesh well, though both actors did a good job. Thus I didn’t feel as emotionally-involved with the characters as I otherwise would.

I do think the premise is intriguing though, and there’s enough going for it here that kept me engaged. The tone is dark and pretty grim, especially the last third of the film, with some gruesome doomsday scenes that warrants its R rating. Just like she did in Hanna, Ronan pretty much carried the film here and she’s more than capable. She easily outshines everyone else in this film, though Harley Bird as Piper has some scene-stealing moments. The cinematography is gorgeous as well, giving us a stark contrast between the serene and lush pastoral beauty and the sinister apocalyptic views of a doomed future.

As far as young adult stories go though, this one is certainly far more compelling than other ‘supernaturally-themed’ offerings out there. I quite like the hopeful but not ‘too neat’ ending, though some might feel it’s a bit anti-climactic. It could’ve been a bit more compelling, especially coming from director Kevin Macdonald (The Last King of Scotland, State of Play), but I’d say it’s worth a rent though if you’re a fan of the talents involved.

Casual Encounters

by Adam Wells

Casual Encounters is an anthology film about people who meet other people online for a casual night of love. The movie shows five different people’s experience with a casual encounter and they do intertwine as some characters show up in multiple storylines. The film is really 5 short films and in some cases they have been shown separately in some cases but Casual Encounters has them shown altogether.

The movie has excellent performances all around, the actors and actresses in this film handle the maturity of the content of this nature. In particular the character of Eric who is the only one to appear in three storylines including his own, his character has many levels of depth to him as his life is a bit complicated. Eric is portrayed by Aaron Mathias (who was also the star of Things I Don’t Understand which premiered at TCFF last year), and he is definitely an actor to keep on your radar.

The movie has many settings that take place at night, but despite that the cinematography is done very well, while also different color palettes for lighting in each story’s setting. As each story differs in its nature of intimacy and sexual orientation, the colors of the lighting seem to change, and that shows the producers and director really thought through the composition of the shots wanted the viewer to associate certain colors with certain interactions, as Eric’s story is the final one in the film and has multiple settings as opposed to the other stories that have one or two.

Overall, Casual Encounters is an excellent film and comes highly recommended due to its amazing performances, elaborate world it creates with intertwining storylines, and its content that is usually not shown in films. The film plays against the viewers expectations as it has romantic movie plots but they don’t play out as most romantic movie plots usually play out, which is always pleasant to see.

The Liability

by Sarah Johnson

A movie with good plot twists that also wraps up all the loose ends by the time the credits roll? The Liability, the new crime tale directed by Craig Viveiros and written by John Wrathall, does just that. It stars Tim Roth as Roy, a world weary hit man who only wants to retire so he can attend his daughter’s wedding, and Jack O’Connell as Adam, the 19 year old stepson of Roy’s gangster boss Peter (Peter Mullan). When Adam wrecks Peter’s car he gives him a job of becoming Roy’s driver as a way to work off his debt. “It’s either that or the septic tank,” Peter says.

Of course things don’t go according to plan. A bizarre string of events involve a girl, a hippie van and the true reason Adam was paired with Roy. Suffice it to say, when I heard a nearby audience member gasp at one of the plot twists, I knew the filmmakers had done their job. Casting Tim Roth in one of the starring roles was a good choice as his wry acting style is a good mix with the sexy edginess of the movie. (“I haven’t killed a woman since 1983,” he proclaims.)

The one thing I found slightly lacking was the chemistry between O’Connell and Roth- it would have been nice to see them play off each other more. Some might say the movie is a little too by-the-book in wrapping it up at the end. I appreciate movies that keep you guessing as well but is walking out of the theatre feeling like you understood everything so wrong?

So that about wraps up our Day 7 reviews. Any thoughts about any of these films?

Desperate singles get all tangled up when a compulsive internet dater loses track of her accounts.

Directed by: Jake Greene and Natalie Irby

Interview w/co-director Jacob ‘Jake’ Greene:

1. Tell us about your filmmaking background, how you got started in the business.

I started making independent shorts and web series when I lived in Nashville, TN, which is also where I met my directing partner, Natalie Irby. The first project we worked on together was an experimental short that I wrote and she starred in. We had so much fun working together on that project that we decided to collaborate again after I moved to L.A. in (late 2011). Hot and Bothered was our first project as co-directors and we’re already plotting the next (several).

2. How does the concept for your short film come about? Have you been interested in doing a comedy?

The concept for “Hot and Bothered” came out of a conversation that Natalie and I had with my wife, Sarah, at a Mexican restaurant in Los Angeles. We were talking about people we knew who were accomplished, attractive, and desperate. It seemed like we all knew a lot of people who seemed unnecessarily frantic, people prone to needless self-sabotage – especially those who were also single and overwhelmed by the online dating scene. I went home from that dinner and started writing.

3. I thought the casting was great, everyone fit the roles perfectly. Please tell us a bit about the casting process.

This project really took off after our Casting Director, Scott David, signed on. Scott casts the show “Criminal Minds” and has tremendous access to talent. Our cast was amazing and professional and each one of them brought unique depth and mischief to their characters.

4. How was working w/ your co-director Natalie Irby? Did you both come up w/ the film concept?

Natalie is a visual artist and I like to crack dumb jokes so we had a pretty great division of labor. She took “Hot” and I handled “Bothered”.

5. Are you planning on working on a feature film in the future? If so, do you have an idea in mind?

We are absolutely talking about making a feature at some point in the next two years. It’s just a matter of finding the right story and characters.…

A new treatment for her comatose husband compels Diane to reexamine their relationship.

Interview with director Conor Holt:

1. Tell us about your filmmaking background, have you worked on other films (shorts/features) before this one?

I graduated this spring from Minnesota State University Moorhead with a Bachelors in Film Studies. MSUM is the only University in Minnesota that offers a four-year program in both film production and film history & criticism, and I had a terrific time there. I’ve been making short films and whatnot since High School, and I wrote, directed, edited and/or produced almost a dozen films at MSUM. My films have been accepted to 11 different film festivals, most of them in the Midwest. The Librarian’s Assistant, which I wrote, shot, edited & directed, won Best Acting at the 2010 Quiet on the Set short film competition in Minneapolis and Best Family Film at the 2010 South Dakota Film Festival; A Better Life won Best in Show and Best Screenplay at the Spring 2013 Juried Film Exhibition at MSUM.

2. How does the concept for your short film come about? Were you intent on doing a sci-fi story?

I’ve been a really big fan of science-fiction films since I took a class on them at MSUM, which is also where I wrote the first drafts of the script. A class assignment was to write a short science-fiction screenplay, and I wanted to tell a minimalist, character-driven sci-fi story, in the vein of such great films as Primer and Moon. The idea came from seeing multiple films and TV shows featuring patients in comas, and dealing with the constant supervision and financial difficulties in caring for them. I thought, what if in a few years, we developed a new technology that could let families care for their comatose loved one by controlling them via a remote control, using it to keep them active, feed them, etc? How would this technology impact people and their relationships with their loved ones, and how could it be abused? The idea seemed perfect for my desired story scope and ripe with interesting subtext, so I set about writing it with my classmate Ben Grell. We wrote several drafts over the course of the class, but afterwards I kept re-writing it and re-writing it. Eventually, after suggestions from friends, I reworked the film with a non-linear structure, inspired by non-linear films like Memento. This new structure helped tighten the script and increase the visual storytelling, and after a few more drafts – 15 or so in total – the script was ready to shoot.

Check out some behind-the-scenes photos of A Better Life:

3. Tell us a bit about the budget and how you came up with the resources to make this film. I remember you talked about how you came up w/ the clear iPod looking device the wife used to control her husband’s movement, so feel free to elaborate on that as well.

As a student filmmaker, I’m very used to making a film with little-to-no money, paying the actors and crew with food and using whatever props and locations we can get for free. We followed that formula on A Better Life as well, but we also had some help. Every year, the Minnesota Film & TV Board graciously awards a $1500 grant to one student at MSUM. To apply, I had to submit a finished script, a budget, and a rough crew & location list. I was very honored to win the grant that year, and that money allowed us to rent specialty equipment for the shoot, buy better food for the cast & crew, purchase props & costumes, and pay for submission fees to film festivals. The film could not have been made without the involvement and hard work of a truly wonderful cast and crew, and a number of terrific people willing to let us film in their homes and places of work.

4. What was your biggest challenges in making this film and how you figure out a way to overcome them?

One of the biggest challenges on this film was the remote control. This is the key prop for the film, and the most obvious element of science-fiction in the story. My very talented Production Designer Mallery Mohn and I discussed the design, how I wanted a sleek, modern feel to it, and she created a wonderful prop out of a plastic picture frame. The digital interface of remote came in post-production, thanks to the fantastic Special Effects wiz Ben Stommes. Ben was able to design a logical, functional interface that matched the finger movements of the lead character, and fit it to every needed shot in the film. In filmmaking, the key to success is surrounding yourself with talented people. If I did one thing right on this film, it was hiring enormously talented people like Mohn, Stommes, Cinematographer Shane MacKinnon, Editor Chance Cole, Producer Patrick McKeown and Composer Greg Albing to help bring this film to life and make the filmmaking process so much easier.

5. Who are your biggest filmmakers and/or films influence? In other words, where do you draw your inspiration from?

For this film, I drew on other small-scale science fiction films like Moon, about an isolated miner on the Moon who uncovers a dark secret on his base, and Primer, about two computer geeks who build a time machine in their garage. I studied how they were able to find drama and philosophical depth in character’s dealing with dangerous technology and ethical dilemmas, without the need for space battles or alien monsters. As a filmmaker, I have several directors that I adore, as well as shamelessly copy in my own directing style.

I love Christopher Nolan’s deft hand at weaving complicated stories, such as Memento and The Prestige, and his fascinating explorations of deep, philosophical ideas. Quentin Tarantino’s hilarious, insightful scripts are a constant joy, and his visual flair is wonderful to behold. And Hayao Miyazaki, the master Japanese anime director, is truly inspirational, a genius at telling quiet, powerfully intimate stories as well as sweeping, emotional epics. These filmmakers, and many more, inspire me as a filmmaker and compel me to strive for honest, emotional storytelling and visual distinction and impact.

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Happy Friday everyone!! We’ve still got a couple of days worth of festivities before TCFF wraps, but sadly today is my last day covering the film fest as I’m flying to NYC on Saturday morning to attend my sister-in-law’s wedding. No fret though, I’ll still be posting some of the reviews from both days, as well as the interviews with two short film directors I’ve promised you by the week’s end. Before I get to that, check out some photos from the last 8 days:

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October 25 – Day 9 Films

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Antarctica: A Year on Ice

Friday, October 25th at 11:30 am

A visually stunning chronicle of what it is like to live in Antarctica for a full year, including winters isolated from the rest of the world, while enduring months of unending darkness in the coldest place on Earth.…

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Gladiators: The Uncertain Future of American Football
Friday, October 25th at 1:45 pm (2nd screening)An historical film that tells the story of a game that was always dangerous, and whose dangers, though controversial, were also desired. View my full review…

Tapia
Friday, October 25th at 4:00 pmTAPIA takes us inside the tortured soul of Johnny Tapia, the 5-time world champion boxer whose unprecedented success was overshadowed by a volatile drug addiction brought on by the brutal rape and murder of his mother at the young age of 8 years old. Director Eddie Alcazar candidly reveals Tapia’s public struggles through his intimate last interview, archival footage, and photos that showcase his vivacious personality ad child-like gusto.…

The Bloom: A Journey Through Transformational Festivals

Friday October 25th at 6:15 pm Special Guest: Dave Schnak, Director of Photography

THE BLOOM series explores the emerging culture of transformational festivals in 4-parts including over 23 festivals during 2012-2013. Each episode examines three themes that contribute to the transformational effects of the festivals.…

Mandela: Long Walk to Freedom– view trailer
Friday October 25th at 6:30 pm
Special Guests: Representatives from Minnesota African-American Museum

MANDELA: LONG WALK TO FREEDOM is based on South African President Nelson Mandela’s autobiography of the same name, which chronicles his early life, coming of age, education and 27 years in prison before becoming President and working to rebuild the country’s once segregated society.…

A Method
Friday, October 25th at 9:00 pm Special Guests: Director Paul Von Stoetzel and Cast and Crew

A METHOD follows the acting process of Andrea (Jane Froiland), a young and successful theatre performer in the Twin Cities who has been cast in her first major role in a feature film. Andrea’s progress is being recorded by Nina (Shelli Manzoline), an ambitious documentary director driven to create her next successful project. Andrea’s process becomes more and more dangerous as Nina encourages her to delve deeper into the dark reality of her character.…

In this unnerving chiller, Kyle and Rachel Massy are a young couple who have agreed to document their first pregnancy for a reality show. During the production, a series of unexplained phenomena start plaguing the couple, eventually derailing the production of the show. Rachel, growing increasingly paranoid, starts to believe that there might be something seriously wrong with their unborn bundle of joy.

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Closing Day Highlights

Here’s what the Saturday schedule looks like when you visit TCFF official site:

Our artistic director Steve Snyder said this is THE best day he’s ever scheduled in the entire four years programming for TCFF. Nine feature films/documentaries and a myriad of educational panels/events to enjoy all day long! Here are some you don’t want to miss:

Remote Area Medical documentary

Saturday, October 26, 2013 at 10:45am

Directed by Jeff Reichert & Farihah Zaman

A debate over health care has been raging nationwide, but what’s been lost in the discussion are the American citizens who live day after day, year after year without solutions for their most basic needs. REMOTE AREA MEDICAL documents the annual three-day “pop-up” medical clinic organized by the non-profit Remote Area Medical (RAM) in Bristol, Tennessee’s NASCAR speedway. Instead of a film about policy, REMOTE AREA MEDICAL is a film about people, about a proud Appalachian community banding together to try and provide some relief for friends and neighbors who are simply out of options.

Pollywogs

Saturday, October 26, 2013 at 1:00pm (Filmmaker/talent attending)

Directed by Karl Jacob & T. Arthur Cottam

On the heels of a bitter breakup, Dylan travels home to Minnesota for a family reunion. There, he runs into his childhood sweetheart, Sarah, who was relocated to a religious compound when they were young. In the very place he discovered love for the first time, Dylan confronts the fantasies of his youth and realizes that the past may hold the key for what lies ahead.

Last Vegas

Saturday, October 26, 2013 at 3:00pm

Directed by Jon Turteltaub

Starring four legends like you’ve never seen them before, LAST VEGAS tells the story of Billy, Paddy, Archie and Sam (played by Academy Award-winners Michael Douglas, De Niro, Morgan Freeman and Kevin Kline), best friends since childhood. When Billy, the group’s sworn bachelor, finally proposes to his thirty-something (of course) girlfriend, the four head to Las Vegas with a plan to stop acting their age and relive their glory days. However, upon arriving, the four quickly realize that the decades have transformed Sin City and tested their friendship in ways they never imagined. The Rat Pack may have once played the Sands and Cirque du Soleil may now rule the Strip, but it’s these four who are taking over Vegas

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Wild Blue

Saturday, October 26, 2013 at 5:45pm (Filmmaker and select cast member attending)

Written and directed by Josh Hope

After his release from the foster care system, a young man leaves his small Oklahoma town for the first time to travel across the country with a strange woman he meets by chance.

Nothing Without You

Jennifer Stidger, a young psych-patient, is accused of killing the wife of the man she is stalking. No one, including her court-appointed psychiatrist, Charlie Branham, believes she is innocent. When she breaks out of the psych ward, Charlie becomes her only connection to reality as she struggles to prove her sanity and find the “real killer”. This fast-paced thriller will keep you guessing until the very end, what is real and what is Jennifer’s delusional fantasy?

Oh and there’s another screening of

August, Osage County – Saturday at 6 pm

AUGUST: OSAGE COUNTY tells the dark, hilarious and deeply touching story of the strong-willed women of the Weston family, whose lives have diverged until a family crisis brings them back to the Midwestern house they grew up in, and to the dysfunctional woman who raised them. Tracy Letts’ Pulitzer Prize-winning play of the same name made its Broadway debut in December 2007 after premiering at Chicago’s legendary Steppenwolf Theatre earlier that year.

It’s the kind of film you see just for the cast… but after seeing it last night, I can confidently say that the film is as stellar as the cast. Well the film is stellar because of the cast’ amazing performances. Meryl is in top form as always. As much as I’d love seeing other actors being nominated, let’s just say I won’t cry foul if I see her name amongst the nominees. ALL the performances were excellent, but the stand outs for me were Margo Martindale, Julia Roberts and Benedict Cumberbatch. I have to admit Benedict was another main draw for me to see it despite his small role, but it was well worth it! I thought he was excellent playing completely against type and his American accent is pretty darn good. Oh and he sings too!!

There’s still time to get your tickets! General Admission $10; Opening/Closing Gala $20; Centerpiece Gala $20; Sneak Preview Galas $20. Festival Passes can also be purchased: Silver $50 for 6 films; Gold $70 for 10 films; or Platinum $120 for 12 films + 2 tickets to Opening, Closing or Gala. (Silver and Gold Packages do not include Opening, Closing or Gala Tickets).

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It’s already Day 8 of TCFF! Boy, time flies when you’re having a blast! We’ve got a bunch of great films screening today, check out our host Ingrid Moss introducing what’s playing today:

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I’m excited for The Big Noise and One Chance (aka the Paul Potts movie), which couldn’t be more different in terms of story and tone. But hey, the eclectic schedule works for me!

I’ve posted the premise and trailer of One Chance in this lineup post. Now here’s the premise of The Big Noise which plays at 4pm today:

Morris Falzon works with his father George in a small law firm in Sydney’s Inner West. With his personal life a mess and the business falling apart, Morris is thrown a lifeline when a dying client reveals he is leaving Morris a small fortune in his will. It seems his luck is about to change. However, when his client stages a miraculous recovery, it seems it’s back to the grindstone… or is it? Morris and George hatch a plan that will either make or break them – literally.

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Director Dominic Pelosi kindly granted me an interview about his film. Check it out below:

1. I just saw the film Nebraska by Alexander Payne at TCFF that’s also filmed in black and white. So I’m curious what made you decide to shoot your film in b&w?

Black and white for me gives a separation from reality that I find to be a more traditional approach to cinema and seems to be somewhat under-utilised these days. Whilst aesthetically black and white appeals to me greatly it is also highly dependent on the script – the muted image can often aid in the tone of a film, given that The Big Noise has dark undertones it seemed a logical choice for the story telling. In addition having a very limited budget, scenes were often shot months apart allowing the black and white hopefully, to smooth any inconsistencies in the footage.

2. I read that your cast are largely unknown. How did the casting come about for your film?

Casting nonprofessionals was a choice made very early on, which made the casting process much easier in a sense. If the script called for a lawyer, then we would approach a lawyer, or if it required a real estate agent then we would try convince a real estate agent to do the part. This was a process that heavily borrowed from the Italian neo-realist filmmakers which to me can provide an organic performance; the actor doesn’t have the tools to rely on, the tools that modern viewers have become accustomed to seeing. This can obviously have varying results, but the overall tone is something that I think is unique to this process. We did however cast a couple of professional actors in minor roles to try and better balance some of the more dialogue intensive scenes.

Maurice Marshan as Morris Falzon

3. Would you speak a little (or a lot) about the Italian-Australian community depicted in your film? Does this film stem from a personal experience? I’m also curious what was the significance of the title.

Many Italians migrated to Australia in the 50’s and much like anywhere else set up pocket communities that maintained much of their heritage. My brother Andrew (screenwriter) and I have grown up around that type of community as our father arrived in Australia from Italy in the mid- 50’s. The Big Noise borrows heavily from those experiences. That element of the Italo-Australian community has somewhat faded in recent years and in a way The Big Noise depicts the struggle for that 1st generation to adapt to that change. The sense of uniformity in Australia has been slowly blanketing these pockets and there was certainly an attempt to present this in the film. To comment or have an opinion on this point wasn’t my intention, rather to show the consequences of big societal changes on the individual – this particular story was something both Andrew and I know well so the Italian-Australian angle became a good vehicle for us.

4. The writer of your film, Andrew Pelosi, I presume he’s related to you? Did you both come up with this film concept and how was your experience working with Andrew?

We both share very similar interests and love, for the most part, the same movies. One of our favourite films is Truffaut’s Shoot the Piano Player, so we spoke about someday possibly making something in that type of framework and tone. Andrew gave me a script that he has been able to evolve over time to suit our actors and budget restraints that I felt had a similar spirit to Truffaut’s film. He was able to conceptualise ideas that we had expressed to each other into a much more digestible screenplay with regards to plot etc. We would then work together in fleshing things out throughout the filming process. We are extremely close anyway so making a film together was fairly seamless, there were times like any relationship where I’m sure he’d had enough me. We will no doubt continue to make films together.

5. Since this is your debut and your film was made on a small budget, what was the biggest hurdle/challenge, as well as rewarding moments, that you faced when you made this film?

Not having a great budget meant undertaking many of the necessary technical aspects of filmmaking whilst trying to direct. This probably proved the most difficult aspect for me personally. Learning the camera and pulling my own focus whilst trying to get a performance from a nonprofessional actor definitely had its moments. But was also the most rewarding aspect. I’m not sure if we could have made the film any other way. For many of the actors this being their first time performing in any capacity meant that having a crew of two or three people (at most) allowed for a level of comfort that wouldn’t be found on many film sets.

The film is also around 50% in Italian which made it extremely difficult for me as I don’t speak a word. Our father translated those scenes for us as Andrew is very limited in the language as well. There are two key actors that don’t speak a word of English so trying to direct them was challenging, I would attempt to direct them by physically showing them what to do. Editing the film was a real process, trying to correct technical errors and cut a film that was true to the script took a very long time, but it was thoroughly enjoyable. Working with nonprofessional actors and having them be involved with something that they wouldn’t have ever thought of being involved in perhaps provided the greatest satisfaction. It is certainly something I hope to continue on future films.

THANK YOU Dominic for the insightful interview!! Hope you’ll check out The Big Noise when it plays near you!

Second screening added for August, Osage County
Tonight (Oct 24) at 9:15 pm!

Now, another film I’m super stoked about is August, Osage County. Since I’m flying to NYC on Saturday morning, I couldn’t see the original screening at 6pm. Fortunately TCFF just added a second screening tonight, wahoo!! Check out the latest poster w/ Julia Roberts attacking Meryl Streep, that about sums up the dysfunctional family plot, doesn’t it? Plus the cast is just killer! Check out the trailer on this post.

There’s still time to get your tickets! General Admission $10; Opening/Closing Gala $20; Centerpiece Gala $20; Sneak Preview Galas $20. Festival Passes can also be purchased: Silver $50 for 6 films; Gold $70 for 10 films; or Platinum $120 for 12 films + 2 tickets to Opening, Closing or Gala. (Silver and Gold Packages do not include Opening, Closing or Gala Tickets).

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Only four more days left at TCFF but there are no shortage of great films to look forward to. Between my two volunteer staff and I, there’s a myriad of shorts, documentary and feature films we’re planning to catch tonight:

Beyond Right and Wrong: Stories of Justice and Forgiveness

Wednesday, October 23, 2013 at 4:00pm

Directed by Lekha Singh & Roger Spottiswoode

BEYOND RIGHT AND WRONG follows the stories of survivors, like Beata, whose children were murdered in the Rwandan Genocide; Bassam and Rami, who each lost a daughter in the conflicts in Israel and Palestine; and Jo, whose father died in the bombing of the Grand Hotel in Brighton during the Troubles in Northern Ireland. Relying on the survivors’ own words, BEYOND RIGHT AND WRONG does not dwell on the violence and loss, but highlights healing through forgiveness, as victims and perpetrators alike begin humanizing the people they once perceived as enemies or animals. By sharing their experiences of loss and anger, their struggles with forgiveness, and their efforts for peace, these survivors have opened a discussion on the role of forgiveness in the search for justice.

This premise of this documentary intrigues me. It’s a tough subject that promises to be a heart-wrenching and thought-provoking one.

MN Shorts Part II

Another collection of great short films shot in the state of Minnesota!

The Liability

Showing: Wednesday, October 23, 2013 at 6:30pm

Directed by Craig Viveiros

Dark comedy thriller starring Tim Roth and Jack O’Connell. When Adam (O’Connell) is asked to be the driver for a business associate of his mother’s crime boss boyfriend, he soon finds out that this business associate is Roy (Roth) – an aging hitman on the eve of his retirement. While Adam drives Roy to what he hopes are his last ever jobs, a series of unexpected events lands the pair in a game of cat and mouse with a mysterious Latvian woman (Talulah Riley).

Casual Encounters

Showing: Wednesday, October 23, 2013 at 9:00pm

Directed by Will McCord

No matter how alone or strange one may be, internet sex personals provide an anonymous setting to divulge one’s most secret and intimate desires. Post an ad about your kinkiest desires and you’re bound to receive dozens of replies from like-minded people – some genuine and real and others deceitful and predatory. CASUAL ENCOUNTERS tells five stories where each character meets their online respondent for what they think will be a simple encounter. What they discover is very different.

…There’s also another screening of Hot & Bothered short film tonight. Stay tuned for a spotlight post on that with review and interview with director Jake Greene!

How I Live Now

Showing: Wednesday, October 23, 2013 at 8:30pm

Directed by Kevin Macdonald

Starring Saoirse Ronan (The Lovely Bones, Atonement,HannaandThe Way Back) and based on the popular Meg Rosoff novel, HOW I LIVE NOW tells the story of an American girl on holiday with her family in the English countryside, who finds herself in hiding and fighting for her survival as the third world war breaks out. A powerful tale of battlefield heroics, shattered innocence, and how love enables us to endure.

I’ve been a huge fan of Ronan since I saw her in Atonement, and one of my favorite Irish actors. She’s easily one of the most talented young actress working today so she’s the main draw for me here. I also like the Scottish director Kevin Macdonald’s previous work State of Play. Sounds like the role is tailor-made for Ronan, I hope this film is worthy of her talents.

Here are what’s in store for Day 5 and Day 6 at TCFF. As you can see, there’s something cool to look forward to every single day, and there’s always something for everyone! I’m a bit sidelined by a cold today so I had to skip one of the films I had gotten a ticket for. But hey, there are still a bunch of films in store for this week so I’m taking LOTS of vitamins so I can be on the up and up again covering for TCFF 😀

DAY 5 Highlights – Oct 21

MN Shorts Part 1

Showing: Monday, October 21st at 6:15 pm

A collection of best shorts from the state of MN

The Tale of Cuthbert – 5 minutesCuthbert is a zombie who just doesn’t fit in with the other zombies. His brother is the leader and tries to teach Cuthbert the techniques to being a better zombie. But can Cuthbert change who he is? Or will he be banished?

Dead of Winter – 8 minutesRunning low on supplies needed for her survival, Bethany Stevens (Lisie Krohnfeldt) is forced to venture out into an inhospitable world full of frozen zombies, bitter cold and loneliness.

The Gold Sparrow – 13 minutesSet in a crumbling black-and-white futuristic metropolis, void of creativity and color, the city is traversed by The Gold Sparrow and her nefarious side kick, The Ring Leader.

The First Date – 36 minutesHow far will fate go? Jack and Rachel are about to find out. Destined to be soul mates, these two are embarking on a lifelong love. There’s only one problem – they have to get past their first date.

A Letter Home – 4 minutesAn isolated man maintains hope in a hopeless situation. A LETTER HOME is Karl Warnke’s directorial debut.

Clutch – 4 minutesTommy has been made an offer he literally cannot refuse. “One ball, one strike and I’ll let you live”.

Duluth is Horrible– 17 minutesA series of vignettes chronicling a few lonely people in Duluth, MN searching for a connection in a bleak winter.

Ghost Light

Showing: Monday, October 21st at 8:45 pm

Special Guests: John Gaspard (Director) & Cast and Crew

When a key prop goes missing during an amateur theater company performance, the actors suspect the theater ghosts are acting up. The group decides to spend the night in the eccentric old building, watching for paranormal activity.

This feature was filmed at Theatre in the Round here in Minneapolis. Here’s the 30-second preview:

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Joe from the MN Movie Man Blog calls it ‘…an enjoyably well-put together film… Though its pretense may suggest a spooky ghost tale, this is a delicate, well-observed drama that has its heart, mind, and earthly spirit in the right place.’ Read the full review »

DAY 6 Highlights – Oct 22

The Armstrong Lie

Tuesday, October 22, 2013 at 6:30pm

Directed by Alex Gibney

Four years ago, Oscar-winning documentarian Alex Gibney (We Steal Secrets: The Story of WikiLeaks) was commissioned to film Lance Armstrong’s second comeback, for the 2009 Tour de France. Years later, following Armstrong’s cheating confessions, Gibney returned to his original source material, discovering in the process an electrifying, red-handed portrait of a liar in action.

This is one of the documentary I was looking forward to the most and certainly is the most high profile playing at TCFF. Gibney is an Oscar winner and is no stranger to tackling a hot-button topic (ENRON, Wikileaks) and has won an Oscar for Taxi to The Dark Side, an exposé on the treatment of prisoners in Afghanistan, Iraq and Cuba. I find the shift in focus of this documentary from a comeback story to one of the biggest scandal in the world of sport is particularly intriguing. It’s interesting that the producers of the film were initially big fans of Armstrong.

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They Will Outlive Us All

Showing: Tuesday, October 22, 2013 at 9:30pm

Directed by Patrick Shearer

In the years since Hurricane Sandy, New York has been brought to its knees by a series of “Frankenstorms”. Roommates Margot and Daniel attempt to survive this “new” New York by avoiding it at all costs. But with the advent of three strange deaths in their Brooklyn building, the world they’ve been hiding from is knocking hard on the back door. It’s time for our heroes to kill their TV, lay off the booze, and put out the roach… Or all of NYC could fall into the clutches of something that can’t even clutch.

Like this:

Hope you’re still enjoying our TCFF coverage, now on our fourth day! The only Sunday of the 10-day of TCFF, we’ve got a mix of documentary, feature as well as a collection of shorts dealing with relationships. Here’s the list of the family-themed shorts in order of appearance:

I was pretty impressed by most of these, but if I had to choose three favorites, it would be: A Better Life by Conor Holt, The Avenue by Alaina Lewis and Fray by Rob Walstead. Each have a very different theme, tone and style, but all deal with familial relationships or to be precise, the decline of relationships due to various issues like disease or addiction.

I like the sci-fi aspect of A Better Life with a the story that’s pretty deep and thought provoking. The Avenue looks at the tragic consequence of drug addiction through a mother and son relationship and doesn’t pull any punches in presenting its harsh reality. As for The Fray, it’s a personal story about a little girl dealing with her mother’s last days in the hospital who has to learn to be independent through it all. It’s a beautifully-filmed story with an amazing performance from the director’s own daughter.

Kudos to all the filmmakers for crafting such a rich, engaging story in such a short time!

Here are the reviews from Day 4:

Cafeteria Man: removing the tinfoil from school lunches

by Sarah Johnson

31 million. That’s approximately how many American children receive meals through school lunch programs according to the Healthy, Hunger-free Kids Act of 2010. This initiative, and documentaries like “Cafeteria Man,” shown for free at the Twin Cities Film Fest, shine a spotlight on the efforts to reform the midday meal in educational institutions across the United States. I remember my days in grade school unwrapping a tinfoil tray of mystery meat. In the opening scene of this film, one student wistfully remarks, “I just wish we had better lunch.”

Enter Tony Geraci, a charismatic, middle-aged man with an earring who lives on a sailboat and becomes director of food service for Baltimore’s 83,000 students. “Cafeteria Man” highlights his trials and successes in remaking their school lunches as he spearheads the beginning of school vegetable gardens, nutrition education in the classroom and student designed meals. As with anything that challenges the status quo, this audacious vision is met with a mix of support and opposition from the start. Geraci institutes meatless Mondays not as a political act (“No one loves pork more than me,” he opines) but simply as a way to begin a conversation about eating differently. It does not endear him to the meat industry.

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This documentary also smashes one of the underlying myths of introducing healthy food- that kids won’t eat it. “You’ll hear that inner city kids don’t want to eat this,” says urban farming pioneer Will Allen, also featured in the food documentary “Fresh.” “That’s not true.” As to reinforce this point, director Richard Chisolm shows a junior high student burying his nose in a bunch of basil he grew.

Alas, the bureaucracy takes its toll on Geraci and we are told toward the end of the film that he has resigned his position. The short running time of 65 minutes left me a little confused about certain aspects of the movie like who was Tony Geraci and what were his qualifications to take that job? Even a couple of sentences at the beginning of the movie would have been sufficient.

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The movie ends on a hopeful note, highlighting passage of the Healthy, Hunger-Free Kids Act of 2010, which authorizes funding to increase access to healthy food for federal school meal and nutrition programs. And indeed it does seem like this model can be or is being replicated across the country. (Bertrand Weber, who became Director of Culinary and Nutrition Services for Minneapolis Public Schools in January 2012, is spearheading a similar movement, including installing salad bars in each school.) As entertainment, “Cafeteria Man” was an entertaining look at one of our nation’s most pressing issues. As a documentary, it serves as a catalyst to move this conversation forward.

4 out of 5 reels

Farah Goes Bang

by Adam Wells

Farah Goes Bang is a film about a young woman of Persian decent named Farah, played by Nikohl Boosheri, and her two friends KJ (Kandis Erickson) and Roupa (Kiran Deol) as they embark on a road trip to campaign for presidential candidate John Kerry in the fall of 2004. The three of them are recent college graduates unable to find jobs so they volunteer for the Kerry campaign instead. Farah is also a virgin and her friends are very enthusiastic about her losing her virginity.

The movie uses the setting of 2004 very well. The three main characters travel the country going from very different political climates on each stop of their campaign road trip. The filmmakers didn’t shy away from how awkward it can be talking to strangers . Through many encounters we see that these girls are not that best campaigners but they are passionate about the issues John Kerry campaigns on.

The main character Farah’s storyline is an interesting take on the 20-something virgin. It seems so common in American culture for men and women to lose their virginity in their teens, that when a film focuses on someone who didn’t, they seem very weird, or to quote the character of KJ “defective.” But the film makes Farah out to be a fully functioning adult female who doesn’t seem incomplete because she’s a virgin though we do see her struggles as she interacts with men throughout the film as she feels pressured by not just her friends but society’s norms, and she challenges those norms because she’s strong enough to go against the norm.

The three main characters are very well written and acted. Through different interactions either with each other or characters outside of their group, we see they are individuals with a good amount of depth to them and don’t fall into a stereotype, though they have some cliche’ characteristics to them, it helps flesh out their characters completely and see the depth they have to them.

The film is shot well, particularly the night scenes have very little grain. The cinematography overall is good. The one thing to note on the cinematography is the handheld camera shots are a little too shaky and can take the viewer out of the movie at times, but they are only used in a few scenes in the movie.

Farah Goes Bang is a must see for those who crave movies with multiple female characters with depth to them, something film culture today seems to a huge void in. The 2004 election backdrop for this movie acts as some dreaded dramatic irony for the audience as people who will watch this know how the 2004 election turned out and will dread seeing the main characters disappointment when their candidate doesn’t win, but the film is much more about the journey and growth the characters go through their experience in the campaign.

4 out of 5 reels

Diamond on Vinyl – What’s Your Reality?

by Sarah Johnson

What happens to people who can’t accept reality? “Diamond on Vinyl,” the sophomore effort from filmmaker J.R. Hughto, centers on one such character. The movie begins as Beth (Nina Millin) is leaving her boyfriend Henry (Brian McGuire) after listening to his digital recorder and hearing, among other things, his musings about whether he actually loves her. It seems that Henry likes to rehearse conversations with the hope that it will work out how he envisions. Apparently no one ever told him life doesn’t always go according to plan. (Some would say it never does.)

As Beth is crying in her car over this revelation, she is unexpectedly comforted by Charlie (Sonja Kinski, granddaughter of German actor Klaus Kinski and daughter of actress Nastassja Kinski), a passerby who lends a sympathetic ear and volunteers to return Beth’s key to Henry. Hinting at her own voyeuristic tendencies, she seems way too interested in the situation and confronts Henry about his recordings. A bizarre series of meetings between the two begin as they start recording sessions at first focused on Henry’s attempt to win Beth back but then drift into scenarios that may be real or not. This is interestingly portrayed by Hughto by overlapping conversations with actual voices in the background as if blurring the lines between fantasy and reality.

Any thought that this may be a harmless hobby for Henry is put to rest when he visits a man who voiced “Safe and Sound,” old records featuring conversations between a man and a woman that you could turn on as you leave to make it seem like you’re still home. As Henry strives for perfection in his interactions with other people and holds these records as his ideal, he seems unwilling to accept that they are unedited even after the man shrugs saying “it is what it is” and gets kicked out of his house.

I would have liked to see the character of Charlie explored a little more as I wasn’t sure if she was exploiting Henry’s neuroses to satisfy her own voyeuristic tendencies or if he was a kindred spirit. (Or, since the movie ends rather abruptly, maybe that is the point of leaving that question unanswered.) There is also an interesting unspoken comparison of different mediums of voyeurism as she is a photographer and he uses a digital recorder. One note on the visual aspect of the movie- it’s shot as if by a handheld camera to give it a harsh, gritty feel (“The Wrestler” is another movie with similar viewing). I realize that’s by design but mostly it just gives me a headache.

2 out of 5 reels

So that about wraps up our Day 4 reviews. Any thoughts about any of these films?

It was another fun day at TCFF yesterday! Following the Women in Film panel, the fun continues with the rom-com Forev, Bahamian Son and Winter in The Blood.

I got a chance to meet up with Forev director Molly Green, which is as awesome as she is talented! It’s so great to meet with a young female filmmaker who’s on her way to making her mark in Hollywood. I really enjoyed her film, it’s funny, engaging and best of all, well-written and well-acted. That’s why I was intent on talking with her about how she got her start in making film and the filmmaking process of her debut.

Interview with Molly Green, director of FOREV

What’s your film background? I heard that your early experience was in film casting?

Yeah I did work in casting. I started out when I first moved to L.A. with a casting director called Randi Hiller who had a contract with Marvel. So I spent about a year and a half working on THOR which was awesome as I got to hang out in a room with Kenneth Branagh all day. It was awesome because I got to see how he worked with actors, which as a director it’s one of the best experiences you could ever have. Since then Randi has become head of casting at Disney and has been an amazing mentor. So it’s been a great foundation as a director to see a master director and master actor work with other actors. So yeah, it made me feel confident about working with our actors as I knew how to talk to them.

So how did you come up with the film concept for FOREV?

My directing partner James Leffler and I thought about doing a feature film. And this is a time in our lives where we’re starting to get wedding invitations from our college friends, and you start to see marriages as less of an abstract but more of a concrete concept. People in our lives are actually getting married which was bizarre, so we had that idea floating around in our heads. Then Matt Mider and Noël Wells who play Pete and Sophie in our film came to us and asked if we’d do a comedy sketch. We told them no but we said we’d do a feature film if they’d be in it so they agreed to do it. So that’s what happened.

When you thought of doing the film, I know it’s a rom-com genre, but did you want to want to add the ‘road movie’ element to it?

I don’t think we thought about making a road movie, I don’t think any of us did. But we know that we’d get more production value from the desert. So we knew that having that desert scenery and backdrop would be valuable for the movie so it’s just a matter of getting the characters there. So we didn’t really follow the the convention of a road movie but it just happens sort of naturally. Recently someone called it a screwball comedy, which is a good way to describe it. It’s a weird, modern take of screwball comedy aside from rom-com.

Yours truly w/ Molly Green at the red carpet

You mentioned a bit about the casting for Pete and Sophie but how about the rest?

Amanda Bauer who plays Pete’s sister Jess is actually a friend I knew from my casting days. She was in a film that played at SXSW called The Myth of the American Sleepover. She’s really young and really smart so we wrote her and hoping she’d do it and she thankfully said yes. As for the rest, most of them are my neighbors. I live in a building full of actors so the scenes of partying and at the bonfire, those are all my neighbors. And that’s pretty much like a typical Friday night, that bonfire scene. So that’s how it all came to be.

So what’s your favorite part of the FOREV’s shoot and filmmaking process?

To me, it was incredible to go out to the desert with a group of really close friends and make something we’re all be proud of. That’s just so super fun to y’know all thrive together. We’re in this road trip, we’d stay in a house together, working in this beautiful scenery, it was the most fun I’ve ever had. It’s been really nice to premiere with those people. We premiered in L.A. so it was nice to be able to stand up with everybody, it’s so nice.

What’s next for you? Also talk a bit about the distribution of FOREV.

James and I have been writing the whole time, we have like three different projects we’re working on. We don’t know which one will be the next one but hopefully we’d be in production on something very soon.
As for distribution, we haven’t signed the paper yet but I’m anticipating FOREV will be available on direct TV or VOD or Netflix by Spring.

One of the major highlights of TCFF this year is Winter in the Blood starring Chaske Spencer who’s thus far best known as the alpha male werewolf Sam Uley in the Twilight series. Check out my fellow blogger Mitch Hansch’s interview with the actor. Here’s an excerpt from his conversation:

On how James Welch’s book gives him an insight into his character Virgil:

So the book was a great blueprint map to finding this character, but I don’t know how much I have in common with him. I think I had to find correlation at some point with him but it was just very simple. Alex and Andrew helped me out a lot by finding where I could substitute certain aspects of my life into Virgil’s life, but you know at the end of the day that it’s just acting.

On working with directors Andrew and Alex Smith

Well, I’m just speaking from my experience but they were very spot on. I don’t know what happened between scenes because I really focused on my job but they were very helpful, very supportive, and I felt very safe with them, and also my performance was being guided in the safe hands of those two gentlemen. They’re very intelligent, they know what they want. They’re very specific on what they want and that helps us out as a actor when the director specifically knows how he wants the outcome to be.

Now, this dramatic feature has Minnesota connection as it’s based on the true events of its writer Reggie Henderson. It’s set in Minneapolis as well as The Bahamas. Check out my conversation with its director on how the project came to be.

Interview with Andrew Melby, director of Bahamian Son

1. How did project come about to you? Did you know Reggie Henderson before making this, if so please tell us how you first met him.

I know Reggie from the working with him in the music business. He produces music with Toki Wright and we met and a set of the music video we were shooting for Toki’s A Different Mirror. After the video wrapped we started talking about the project.

2. How long did it take you to make the film? Seems that the film was shot on location both in Minneapolis and The Bahamas?

From principal photography (the beginning of shooting) to final sound mix Bahamian Son has taken about 3 1/2 years. We shot roughly two weeks in MN and just over two weeks in Nassau, Bahamas.

3. The end of the trailer promises a dark and gripping scenario. Without revealing any spoilers, what would you say are the main themes of this film?

There are obvious themes in the film. Family, fatherhood, are a couple of the obvious ones, but to me, the film is also about the human experience. We go through our lives trying to figure out who we are and where we fit into this big life thing we are all experiencing. Bahamian Son is about one man’s story. Some of us can relate directly to his experience and others in the abstract, but the hope is that we all get more clues on this big show goes. It’s a bit cliche, but when you take a leap or a chance expecting one outcome, and you get another, it can be so much more rewarding because you are still further then when you started.

4. Reggie Henderson himself wrote the script, so tell us how it was like collaborating with him on this film.

Reggie and I went into this project as professional friends and came out brothers who LOVE to disagree. (Laughs) I mean that in the best way possible. Reggie is an amazingly creative mind and I learned a lot from him. At the end of the process I think we both learned from each other.

5. Now lastly, please tell us a bit about your filmmaking background. I read here that you worked on music videos, NBC’s The Biggest Loser and as part of the crew on the film Souvenirs. So what’s your biggest challenges as well as favorite experience of working on a feature film?

I think I benefit from all the different production jobs I’ve had, and have. I’ve done corporate video, commercial, music videos, reality shows, features and docs to name a few. While they are all in the production world, they have their own challenges that give you a new technique and insight into the craft. When you shoot 3,000 feet beneath the earth in a mine, travel with musicians across Europe, then come home and shoot an interview at the IDS with a big shot executive, you encounter a lot of personalities and styles of living. I love that part of the job.

Check out their bio at TCFF site. I’m so glad every event now takes place on the Festival Lounge right at the Showplace ICON Theatre venue. It’s so convenient for everyone involved.

Here are the films my blogger staff and I are going to catch tonight:

FOREV

October 19th at 4pm

Special Guest: Molly Green – Director

Sophie and Pete are kind of friends, but mostly they’re just neighbors. On their way to pick up Pete’s sister Jess from her sorority house, a joke about getting married escalates and their car stalls out. Forev is a romantic comedy about how far you can go without saying what you mean.…

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Hot and Bothered(short film, screening before Forev & Screwed)

Special Guest: Jake Green
Desperate Singles get all tangled up when a compulsive internet dater loses track of her accounts.

Winter in the Blood

October 19th at 6:30pm and 11pm (additional screening due to popular demand) Special Guest: Chaske Spencer, Actor (Twilight) and Alex Smith, director

Virgil First Raise (Chaske Spencer) wakes in a ditch on the hardscrabble plains of Montana, hungover and badly beaten. He returns home to his ranch on the reservation, only to find that his wife, Agnes, (Julia Jones) has left him. Worse, she’s taken his beloved rifle.

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Bahamian Son

An independent feature film, based on true events from the life of the writer Reggie Henderson. The story follows Kevin as he sets out to find his father, whom he hasn’t seen in more than thirty years.…

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Stay tuned for my interview with Andrew Melby which will be posted together with the review!

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Truth or Dare

Six friends find internet stardom after making truth or dare videos that go viral. They go by the names, “The Truth or Daredevils” and are surrounded by a huge media storm from their latest video. Everything is fun and games until their number 1 fan decides he wants to play…

After watching a well-crafted and eye-opening documentary Gladiators: The Uncertainty of American Football, it’s time to see the heist thriller I’ve been looking forward to. In between films, I caught up with director Scott Kawczynski right after his red carpet interview.

Connecting with filmmakers/talents is always a highlight at TCFF, especially someone as gracious as Scott! He flew here right from another film festival in Orlando promoting his film. Best of luck with your film, Scott, thanks so much for coming down to visit us and for making the film!

Now check out the review … and the Q&A questions below:

Trust, Greed, Bullets and Bourbon: Bourbon not needed

I love a good heist movie. With a stellar cast and smartly written script, “Trust, Greed, Bullets and Bourbon” is sure to be one of my favorites at the Twin Cities Film Fest. Mixing elements of “The Italian Job” with “A Simple Plan,” the story begins five years after the group’s diamond heist and shortly after one of them nabbed in the job has gotten out of jail. They get cryptic invitations to meet at a cabin in the Catskills where they will be given clues as to where to recover the stolen loot. This may be where the “greed” in the title comes in since they all show up.

The movie was very well cast- Max Casella as Tyler, the tough guy in gambling debt (in a “Sopranos” type role…and then I remembered he was in “The Sopranos”), Larisa Polonsky as Samantha, the sassy blonde accomplice, Eric Morris as David, the pretty boy, and Kathryn Merry as Circe, the granddaughter of heist mastermind Franky. I also enjoyed Danny Burstein’s interludes as Hector, the backwoods gun-toting yokel.

At only about 85 minutes writer Scott Kawczynski’s directorial debut moves along crisply with moments of ironic hilarity. When David tells Tyler in front of the crew, “I can’t even trust a word out of your mouth,” Tyler responds with a confused look on his face, “Of course not. You can’t trust any of us…we’re all thieves.” Another time, as they are dragging a body into the woods searching for the hole they dug, one of them says “It seemed closer earlier.” And who doesn’t love a hit man who searches for extra bullets in his car’s glove compartment?

What could have been a tired conclusion is a pleasant surprise cleverly told so I don’t want to give any more away. A note on the “bullets” part of the title: although there are multiple murders in this movie there isn’t any gratuitous violence as the “hits” are designated by red dots streaking on screen. Maybe this was done because it’s cheaper but it appealed to me because as much as I love heist films, I have never understood movies with violence for the sake of violence. Bourbon doesn’t really come into play- maybe “Trust, Greed, Bullets and Bourbon” just sounds better than “Trust, Greed and Bullets.” There is something to be said for alliteration, after all.

4 out of 5 reels

Interview with director Scott Kawczynski

1. What was the inspiration for your film? Have you been interested in doing a heist concept?

I’ve always loved heist films, especially heist films that go awry (ex: Rififi, Reservoir Dogs, Dog Day Afternoon). The exploration of the failed heist and how it effects the characters involved was very intriguing to me. You look at the situation, these people were so close to getting away with it, but one detail collapses the entire endeavor.

2. Congrats on being picked as Project of the Day by Indiewire and successfully raised your funding goal on Kickstarter. What was the biggest challenge in getting that accomplished?

Winning Indiewire’s Project of the Week was A pretty big deal. It opened lots of doors in terms of potential distribution for the film down the road, as well as a huge amount of traffic from people that might never have heard of the film.

I handled my Kickstarter differently than most, by raising money after the production was done. The money raised on Kickstarter covered the final aspects of post-production, sound mix and color correction, and the overflow money is going toward distribution costs. So the film was completely finished and locked before i even created the Kickstarter campaign. All costs previous to this, pre-production through post production editing were all self-funded. In the end I believe this was one of the smartest choices I made because I could sell the fact that the film was done and that I wasn’t looking for money to make the film – which seemed important to me for a completely unknown writer/director trying to raise funds. The majority of my funders were family, friends and friends of friends. However, my two biggest funders were people I had never met, and I truly think that having a completed project to show was key to them coming on board. My advice to anyone thinking of doing Kickstarter is to have a goal that is realistic and you believe you can raise.

3. How does the title come about? It reminds me a bit of Guy Ritchie’s Lock, Stock and Two Smoking Barrels which is in similar genre. Speaking of which, who are your film/filmmaker inspirations?

In simplest terms, the title words are the basic themes and vices explored by the characters in the film. The shooting script was actually titled Trust, Greed, Beer & Bourbon, but halfway through production we realized there were more bullets than beer. I like the title because it is like a mixed drink, a smidgen of Trust, a couple shots of Greed, a couple Bullets and a whole lot of Bourbon.

In terms of film inspiration, in addition to the heist films I listed earlier, A Simple Plan, The Treasure of the Sierra Madre, Rear Window, Rope, 12 Angry, Men, Millers Crossing and Fargo I watched over and over. The Hitchcock films and 12 Angry Men were integral in studying shooting an entire film in primarily a single location.

My list of filmmakers is probably similar to many people interested in similar subject matter: Hitchcock, Tarantino, the Coen Brothers, Lumet. Some newer filmmakers I really enjoy are Rian Johnson, Jeff Nichols, Shane Carruth and Duncan Jones.

4. I enjoyed looking at the pics on your blog on the shoots in NYC. What’s the most memorable moments for you in shooting/working on this film?

The most memorable moments I had on shooting the film were watching the actors really make the characters their own, and how the characters grew into something better and beyond what was on the page. In general, the production went pretty smoothly, there were no real disasters while filming. It was also really great shaping the story. It was very important to me that the cast and crew be an integral part of making the story as good as possible, so before shooting a scene we would discuss what was about to happen, how it related to the story as a whole and if any adjustments needed to be made.

5. Lastly, you talked briefly about the casting process on your blog, but is there something else you’d like to share about that and how you assemble your crew as well?

First I should mention that this was an insanely low budget film, you’ve heard of Ultra-Low Budget productions, well, this is a mile below that. So because of that, I had to be very, very conscious of what everything cost. My biggest ally was the script I wrote. The actors loved it. That was huge, especially in getting Max Casella and Danny Burstein to sign on. They loved their characters and wanted to be part of the film no matter what. Dara Coleman I knew from working with him on Ed Burns films in the past, and Eric Morris, Larisa Polonsky and Kathryn Merry were found through auditions – which were done at my house (actually Kathryn’s audition was taped and she posted it for me to review).

The crew all started with my DP Rick Siegel. In the past, I had been Production Designer on a couple jobs Rick was cinematographer on. He has around 30 years of experience and has connections galore. He brought in Mike O’Brien, our awesome sound guy, the two grips and lighting assistant. The final piece of the puzzle was Associate Producer Erik Trinidad, who I have known for years from working in Advertising, he was the glue that kept everyone together.

From there it was beg and borrow. Everyone involved in the production was paid (all at a very reduced rate), but lights were provided at a very discounted price, locations were either free or reduced price (we lived in the house we shot at up in the Catskills Mountains) and everyone pitched in whenever needed. It was a complete collaboration and the essence of independent, super low-budget filmmaking. And it was fabulous.

Hope you enjoy the review and interview! If you’re a fan of heist film or who-dunnit type of thriller, check out Trust, Greed, Bullets and Bourbon when it plays in your area!

About me

Hello I'm Ruth! Film is in my blood. LOVE movies of all genres, from Jane Austen to James Bond. Official blogger for the Twin Cities Film Fest (TCFF). I've recently completed my first feature screenplay & produced my first short film HEARTS WANT. Visit facebook.com/heartswantfilm

Trivia on Blade Runner 2049

Denis Villeneuve noted that he's fully aware of the immense pressure he's under, and how hardcore fans of the original view the prospect of a new film: "I know that every single fan will walk into the theater with a baseball bat. I'm aware of that and I respect that, and it's okay with me because it's art. Art is risk, and I have to take risks. It's gonna be the biggest risk of my life but I'm okay with that. For me it's very exciting... It's just so inspiring, I'm so inspired. I've been dreaming to do sci-fi since I was 10 years old, and I said 'no' to a lot of sequels. I couldn't say 'no' to Blade Runner 2049 (2017). I love it too much, so I said, 'Alright, I will do it and give everything I have to make it great.'"

Initially, Denis Villeneuve was against the concept of a sequel to Blade Runner (1982), as he felt it could violate the original. But after reading the script, which he and Harrison Ford have described as "one of the best" they have ever read, he committed to the project, stating that Ford was already involved at that point: "To be very honest with you, Harrison was part of the project before I arrived. He was attached to it right from the start with Ridley [Scott]. I met him and he's honestly one of the nicest human beings I've met and is one of my favorite actors of all time, so for me it's a lot of pleasure."

Jared Leto was introduced to Denis Villeneuve by his close friend Jean-Marc Vallée, who had directed Leto in Dallas Buyers Club (2013).

Emily Blunt was considered for a role but she declined due to her pregnancy.

This sequel is set to be released on October 6, 2017, just ten years and one day after the Final Cut version of the first film premiered in Los Angeles.

The sequel which takes place 30 years after Blade Runner (1982) is the story of new Blade Runner Officer K (Ryan Gosling) as he searches Rick Deckard (Harrison Ford) whom has disappeared. In Harrison Ford's earlier science fiction film Star Wars: The Force Awakens (2015) which took place 30 years after Star Wars: Episode VI - Return of the Jedi (1983), The film's main protagonists Rey (Daisy Ridley) and Finn (John Boyega) are searching for Luke Skywalker (Mark Hamill) whom disappeared. Harrison Ford played Han Solo in the Star Wars films.